Artborne Magazine November 2016 - Page 53

and a curse. Their bond interferes with their outside relationships, and, as often happens, the fi rst born twin takes on a dominant, almost parental role. Colton Capps sees in his brother the same possibility inherent in Cole’s character in the video game. He feels that, like Cole, Infamous will follow a similar path from the mundane to the miraculous. He’s right that Infamous has serious chops. Back in high school in Little Rock, he fl exed his writing and performance muscles with his friend, Zac Overton. In their spare time, they would take turns throwing out verses memorized by their favorite artists, and challenge each other to guess whose material it was. Then, they took it a step further. They began to try to trip each other up by throwing in original material to see if they could fool the other into guessing a big name artist. Infamous still collaborates occasionally with Overton, who goes by the name OV. Infamous lists several artists as inspirations: Eminem, Bob Dylan, Dr. Dre, Bone Thugs-N-Harmony, Yela Wolf, Rittz, and Kendrick Lamar, but it’s the infl uence of Eminem that jumps out at me. What Infamous has assimilated from Eminem is twofold: musically, what Eminem does spectacularly well is a choreographed dance between syllabic accent and metrical accent. Most of the time, hip-hop or rap is in what’s called “common time,” with four main pulses per bar that can each be subdivided, with the fi rst pulse receiving extra emphasis relative to the others. That emphasis is called the “downbeat.” Like a parking meter ticking off time, that emphasized downbeat pulse is a regularly repeating, predictable event. Early hip-hop tied the speech rhythm of the lyrics to that downbeat so that the syllabic accent of keywords always landed on the downbeat. But that approach eventually freed up as artists became more rhythmically sophisticated and realized that the interplay of those elements is more interesting and dynamic than their rigid coordination. Eminem fl oats syllabic accent so that it skips around to different parts of the bar, doubling, tripling or even quadrupling rhymes or assonances. The downbeat acts like a center of gravity, and the speech rhythms now play with their changeable proximity to that center. Infamous does this too, and also raps with more than one persona, like Eminem. Infamous often delivers his choruses like a lazy stoner who somehow manages to stay in time and in tune, while his verses have an aggressive, spontaneous, and rhythmic vitality. Infamous has been honing his skills for twelve years and, at the age of 27, he has a catalogue of over 200 songs. Despite his prolifi c tenaciousness, he suffers from regular bouts of anxiety, mitigated by marijuana use (the stoner persona didn’t come from nowhere), intense writing sessions, and his brother’s vigilant and unwavering support. Colton currently raps with his brother under the name Twin, but they are already looking to refi ne their work as a duo now, beginning to explore the theme of Jekyll and Hyde as personas for each of them, which certainly sounds like fertile ground for twins. Capps will graduate from Full Sail University in February 2017, and if his brother has the infl uence and sway that he hopes to have, Infamous will be emulated by some high school kid somewhere someday, looking to make sense of his surroundings and yearning for something more. Infamous made a Soundcloud playlist to accompany this article at: soundcloud.com/littlerocksinfa501/sets You can see more at: NotoriousBTC.wix.com/InfamousMusic Infamous (left) and Twin (right) in the studio, photo by Mariana Mora Orlando’s Art Scene, v. 1.5 52 and a curse. Their bond interferes with their outside relationships, and, as often happens, the first born twin takes on a dominant, almost parental role. Colton Capps sees in his brother the same possibility inherent in Cole’s character in the video game. He feels that, like Cole, Infamous will follow a similar path from the mundane to the miraculous. He’s right that Infamous has serious chops. Back in high school in Little Rock, he flexed his writing and performance muscles with his friend, Zac Overton. In their spare time, they would take turns throwing out verses memorized by their favorite artists, and challenge each other to guess whose material it was. Then, they took it a step further. They began to try to trip each other up by throwing in original material to see if they could fool the other into guessing a big name artist. Infamous still collaborates occasionally with Overton, who goes by the name OV. Infamous lists several artists as inspirations: Eminem, Bob Dylan, Dr. Dre, Bone Thugs-N-Harmony, Yela Wolf, Rittz, and Kendrick Lamar, but it’s the influence of Eminem that jumps out at me. What Infamous has assimilated from Eminem is twofold: musically, what Eminem does spectacularly well is a choreographed dance between syllabic accent and metrical accent. Most of the time, hip-hop or rap is in what’s called “common time,” with four main pulses per bar that can each be subdivided, with the first pulse receiving extra emphasis relative to the others. That emphasis is called the “downbeat.” Like a parking meter ticking off time, that emphasized downbeat pulse is a regularly repeating, predictable event. Early hip-hop tied the speech rhythm of the lyrics to that downbeat so that the syllabic accent of keywords always landed on the downbeat. But that approach eventually freed up as artists became more rhythmically sophisticated and realized that the interplay of those elements is more interesting and dynamic than their rigid coordination. Eminem floats syllabic accent so that it skips around to different parts of the bar, doubling, tripling or even quadrupling rhymes or assonances. The downbeat acts like a center of gravity, and the speech rhythms now play with their changeable proximity to that center. Infamous does this too, and also raps with more than one persona, like Eminem. 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